Evening Ragas - Volume Four Release Group

Evening Ragas - Volume Four

First released 1992 Vocal / Sitar
Pandit Jasraj performing Hindustani classical vocal music on stage.
Pandit Jasraj
Hindustani classical vocalist Vidushi Shruti Sadolikar Katkar smiling while holding a tanpura, wearing a traditional saree with a bindi.
Shruti Sadolikar
Ustad Shahid Parvez is sitarist.
Shahid Parvez
1 Release 3 tracks CD
Shruti Sadolikar released Evening Ragas – Volume Four in 1992. The album features three khayal-style ragas, including the serene Raga Yaman. She performs in the Jaipur-Atrauli gharana tradition.

Tracklist (Primary Release)

# Title
29:23
14:38
3 tracks

About Evening Ragas - Volume Four

Evening Ragas – Volume Four is a studio album by Indian classical vocalist Shruti Sadolikar. The album was released on January 1, 1992. It features performances in the khayal style of Hindustani classical music. The primary format of the release is an audio recording.

Shruti Sadolikar, a disciple of the Jaipur-Atrauli gharana, performs three ragas on this album. The tracklist includes Raga Yaman, Raga Shankara, and Raga Mishra Ghara. Each raga follows traditional structures, with alap, bandish, and improvisational segments. The album does not specify a record label.

Raga Yaman, the first track, is a prominent evening raga in Hindustani classical music. It adheres to the Kalyan thaat and is characterized by its serene and devotional mood. Shruti Sadolikar presents the raga with a slow-paced alap, followed by a vilambit khayal composition and faster improvisations in drut laya.

Raga Shankara, the second track, belongs to the Bilawal thaat. It is performed in a medium tempo, with Sadolikar emphasizing the raga’s melodic contours through taans and sargam patterns. The composition includes a traditional bandish, which she elaborates with rhythmic variations.

Raga Mishra Ghara, the third track, is a mixed or mishra raga, incorporating elements from multiple ragas. Sadolikar explores its complex melodic structure through intricate taans and bol alap. The performance maintains the raga’s characteristic phrases while allowing for creative improvisation.

The album does not provide additional details about instrumentation, accompanists, or recording specifics. It remains a documented example of Shruti Sadolikar’s interpretation of evening ragas within the khayal tradition.